How It Was Recorded

Billie Eilish · When We All Fall Asleep, Where Do We Go?, 2019

bad guy

Lead vocalBacking vocals, doubles and harmoniesSub bass (subbass1/subbass2, with 'dirtybass' double in the hooks)Programmed drums and found-sound percussionChorus synth (single synth track)Production DAW, summing and stereo mix chainVerified28Reported2

What the sources do and do not say

The mix is documented by Rob Kinelski; the source recording is thinly documented. The TLM 103 and Apollo 8 are Finneas O'Connell's general setup around the time of the album, not a statement about this vocal; earlier songs were recorded on an Audio-Technica AT2020. Kinelski names the Waves SSL channel strip without saying whether it is the E or G version. Not sourced, so not listed: the synth and bass instruments, drum sound sources, and any amp or amp simulator. The Dangerous Compressor ratio is given as 10:1 and as 20:1 on the same source page; both are shown.

Lead vocal

Billie Eilish

Microphone

Neumann TLM 103

Reported

Finneas's vocal microphone around the time of the album: Mix says he had recently moved to it from an Audio-Technica AT2020. Not tied by anyone to this vocal

Source: Sound On Sound, accessed 12 Nov 2026; Source: Mix, accessed 12 Nov 2026

No plugin suggested. Microphone-modelling plugins only work with their own matched hardware microphone, so there is no plugin to link. Placement and the room matter more than the model. The TLM 103 is still made.

Input chain

Universal Audio Apollo 8

Reported

Audio interface in the bedroom studio where the album was produced, per Mix

Source: Sound On Sound, accessed 12 Nov 2026; Source: Mix, accessed 12 Nov 2026

No plugin suggested. An audio interface. Its converters and preamps are clean by design; any current interface does this job.

Mix effects

Apple Logic Pro Vocal Transformer

Verified

Production effect Finneas used for the 'rattlesnake' vocal

Source: Mix, accessed 12 Nov 2026

The plugin used on the record

Apple Logic Pro

DAW

Vocal Transformer is a stock Logic Pro effect.

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FabFilter Pro-Q 2

Verified

First insert in Kinelski's vocal chain: low cut

Settings
Low cut (frequency not stated)

Source: Sound On Sound, accessed 12 Nov 2026

The plugin used on the record

FabFilter Pro-Q 4

equaliser

Current version of the plugin used on the record; Pro-Q 2 is no longer sold.

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Waves PuigChild 670

Verified

Vocal compression for smoothing and colour

Source: Sound On Sound, accessed 12 Nov 2026

The plugin used on the record

Waves PuigChild 660 & 670

compressor

The plugin used on the record.

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Waves DeEsser

Verified

De-essing after the compressor

Settings
Set at 6557Hz

Source: Sound On Sound, accessed 12 Nov 2026

The plugin used on the record

Waves DeEsser

de-esser

The plugin used on the record.

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FabFilter Pro-Q 2

Verified

Second EQ instance reducing midrange

Settings
Mid reduction between roughly 200Hz and 2kHz (amount not stated)

Source: Sound On Sound, accessed 12 Nov 2026

The plugin used on the record

FabFilter Pro-Q 4

equaliser

Current version of the plugin used on the record; Pro-Q 2 is no longer sold.

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Universal Audio UAD Neve 1073

Verified

Inserted for the colour it adds

Source: Sound On Sound, accessed 12 Nov 2026

The plugin used on the record

Universal Audio Neve 1073 Preamp & EQ Collection

preamp and EQ

The current version of the plugin used on the record.

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Waves Vocal Rider

Verified

Automatic level riding at the end of the vocal chain

Settings
About 1.5dB of riding

Source: Sound On Sound, accessed 12 Nov 2026

The plugin used on the record

Waves Vocal Rider

level rider

The plugin used on the record.

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Soundtoys MicroShift

Verified

'Width' aux send adding a little space to the vocals

Source: Sound On Sound, accessed 12 Nov 2026

The plugin used on the record

Soundtoys MicroShift

modulation

The plugin used on the record.

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Backing vocals, doubles and harmonies

Billie Eilish

Mix effects

Sonnox Oxford Inflator

Verified

On the backing vocal bus, in addition to the Virtual Mix Rack

Source: Sound On Sound, accessed 12 Nov 2026

The plugin used on the record

Sonnox Oxford Inflator

saturation

The plugin used on the record.

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Sub bass (subbass1/subbass2, with 'dirtybass' double in the hooks)

Finneas O'Connell

Mix effects

Waves SSL Channel (E or G version not stated)

Verified

EQ and compression on the Sub Bass aux

Settings
Small boost around 800Hz, cut around 400Hz; compression 6:1, fast attack, slow release

Source: Sound On Sound, accessed 12 Nov 2026

Close match

Waves SSL E-Channel

channel strip

Kinelski names only the Waves SSL channel strip. Waves sells an E-Channel and a G-Channel; the source does not say which he used.

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Also worth a look: Waves SSL G-Channel (The other Waves SSL channel strip. The source does not say which version was used).

Waves Renaissance Compressor

Verified

Ducks the sub bass slightly against the kick

Settings
20:1, fast attack, medium release, lightly side-chained from the first kick track

Source: Sound On Sound, accessed 12 Nov 2026

The plugin used on the record

Waves Renaissance Compressor

compressor

The plugin used on the record.

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Programmed drums and found-sound percussion

Finneas O'Connell / Billie Eilish

Instrument

Custom Field recording of pedestrian-crossing signals

Verified

Found sounds: the 'wait' tone is the beeping in the hook and the 'go' sound is the sixteenth-note hi-hat-like texture

Source: Hit Songs Deconstructed, accessed 12 Nov 2026

No plugin suggested. A found sound. Record your own.

Mix effects

Waves SSL Channel (E or G version not stated)

Verified

On an individual kick track, thinning the low mids

Settings
Cut around 260Hz

Source: Sound On Sound, accessed 12 Nov 2026

Close match

Waves SSL E-Channel

channel strip

Kinelski names only the Waves SSL channel strip. Waves sells an E-Channel and a G-Channel; the source does not say which he used.

Get the plugin ↗What else it stands in for

Also worth a look: Waves SSL G-Channel (The other Waves SSL channel strip. The source does not say which version was used).

Waves SSL Channel (E or G version not stated)

Verified

Gate, compression and EQ on the Kick aux

Settings
Gate in; compression 4:1, fast attack, fairly quick release; +9dB at 3kHz, +3dB at 90Hz

Source: Sound On Sound, accessed 12 Nov 2026

Close match

Waves SSL E-Channel

channel strip

Kinelski names only the Waves SSL channel strip. Waves sells an E-Channel and a G-Channel; the source does not say which he used.

Get the plugin ↗What else it stands in for

Also worth a look: Waves SSL G-Channel (The other Waves SSL channel strip. The source does not say which version was used).

FabFilter Pro-Q 2

Verified

Further shaping on the Kick aux

Settings
Cut at 500Hz; boosts at 60Hz, 200Hz and 800Hz (amounts not stated)

Source: Sound On Sound, accessed 12 Nov 2026

The plugin used on the record

FabFilter Pro-Q 4

equaliser

Current version of the plugin used on the record; Pro-Q 2 is no longer sold.

Get the plugin ↗What else it stands in for

Waves SSL Channel (E or G version not stated)

Verified

Only plug-in on the Main Snare aux: compression and gate for snap, no EQ

Settings
5:1, slow attack and release, about 4dB reduction on transients; gate used for snap

Source: Sound On Sound, accessed 12 Nov 2026

Close match

Waves SSL E-Channel

channel strip

Kinelski names only the Waves SSL channel strip. Waves sells an E-Channel and a G-Channel; the source does not say which he used.

Get the plugin ↗What else it stands in for

Also worth a look: Waves SSL G-Channel (The other Waves SSL channel strip. The source does not say which version was used).

Universal Audio UAD Pultec EQP-1A

Verified

Low-end thump on the drum bus

Settings
60Hz boost at 2, with attenuation also engaged (amount not stated)

Source: Sound On Sound, accessed 12 Nov 2026

The plugin used on the record

Universal Audio Pultec Passive EQ Collection

equaliser

The current version of the plugin used on the record.

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Slate Digital Virtual Mix Rack

Verified

SSL-style console emulation on the drum bus, driven for clipping and harmonics (also used on the other group busses)

Settings
British 4k console model, driven hard

Source: Sound On Sound, accessed 12 Nov 2026

The plugin used on the record

Slate Digital Virtual Mix Rack

channel strip

The plugin used on the record.

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Chorus synth (single synth track)

Finneas O'Connell

Mix effects

Waves SSL Channel (E or G version not stated)

Verified

Used essentially as a gain trim on the synth

Settings
+1dB

Source: Sound On Sound, accessed 12 Nov 2026

Close match

Waves SSL E-Channel

channel strip

Kinelski names only the Waves SSL channel strip. Waves sells an E-Channel and a G-Channel; the source does not say which he used.

Get the plugin ↗What else it stands in for

Also worth a look: Waves SSL G-Channel (The other Waves SSL channel strip. The source does not say which version was used).

Sonnox Oxford Inflator

Verified

Adds midrange harmonics to the synth

Settings
Effect at 50 percent

Source: Sound On Sound, accessed 12 Nov 2026

The plugin used on the record

Sonnox Oxford Inflator

saturation

The plugin used on the record.

Get the plugin ↗What else it stands in for

Soundtoys MicroShift

Verified

'Width' aux send widening the synth

Source: Sound On Sound, accessed 12 Nov 2026

The plugin used on the record

Soundtoys MicroShift

modulation

The plugin used on the record.

Get the plugin ↗What else it stands in for

Production DAW, summing and stereo mix chain

Finneas O'Connell (production) / Rob Kinelski (mix)

Input chain

Apple Logic Pro

Verified

DAW in which the album was produced in Finneas's bedroom

Source: Mix, accessed 12 Nov 2026; Source: Sound On Sound, accessed 12 Nov 2026

The plugin used on the record

Apple Logic Pro

DAW

The DAW used on the record.

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Mix effects

Avid Pro Tools

Verified

Pro Tools HD Native system. Mix DAW; stems loaded into Kinelski's routing template

Settings
Stems at unity matched Finneas's reference

Source: Sound On Sound, accessed 12 Nov 2026

The plugin used on the record

Avid Pro Tools

DAW

The DAW used on the record.

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Dangerous Music 2-Bus

Verified

Analogue summing of the group busses (drums, bass, synths, lead vocals, backing vocals, Width aux)

Settings
Kinelski's usual practice: he tends to drive each input pair with the +6dB boost and back the output off about 4dB

Source: Sound On Sound, accessed 12 Nov 2026

No plugin suggested. An analogue summing mixer designed to be transparent. Mixing inside the DAW is the equivalent; no plugin is needed.

Dangerous Music Dangerous Compressor

Verified

Stereo bus compression after the summing mixer

Settings
Ratio accidentally left high on this mix: 10:1 in Kinelski's quote (the page's editor's note says 20:1). His usual setup, per Sound On Sound, has the bass-cut and sibilance-boost side-chain options engaged

Source: Dangerous Music, accessed 12 Nov 2026; Source: Sound On Sound, accessed 12 Nov 2026

No plugin suggested. No plugin models this unit. It is a clean VCA bus compressor, so a transparent bus compressor at the same ratio is the nearest route, but that is a substitute, not an equivalent.

Universal Audio UAD Ampex ATR-102

Verified

Tape emulation, first on the stereo print chain

Settings
30ips, half-inch; tape hiss switched off, after Billie and Finneas objected to it on the first mix Kinelski did for them

Source: Sound On Sound, accessed 12 Nov 2026

The plugin used on the record

Universal Audio Ampex ATR-102 Mastering Tape Recorder

tape

The plugin used on the record.

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Universal Audio UAD Thermionic Culture Vulture

Verified

A touch of drive on the stereo print

Settings
Very slight drive

Source: Sound On Sound, accessed 12 Nov 2026

The plugin used on the record

Universal Audio Thermionic Culture Vulture

saturation

The plugin used on the record.

Get the plugin ↗What else it stands in for

FabFilter Pro-L 2

Verified

Limiter on the stereo print

Settings
Preset 'EDM - Aggressive and Tight'; two prints differing only in limiter level

Source: Sound On Sound, accessed 12 Nov 2026

The plugin used on the record

FabFilter Pro-L 2

limiter

The plugin used on the record.

Get the plugin ↗What else it stands in for

Sources

  1. Billie Eilish - Finneas O'Connell: Producing When We All Fall Asleep, Where Do We Go?, Sound On Sound, 2019-07. Accessed 12 Nov 2026.
  2. Finneas on Producing Billie Eilish's Hit Album in his Bedroom, Mix, 2019-05. Accessed 12 Nov 2026.
  3. Inside Track: Billie Eilish 'Bad Guy' (Secrets Of The Mix Engineers: Rob Kinelski), Sound On Sound, 2019-07. Accessed 12 Nov 2026.
  4. Spotlight Series: Finneas O'Connell on "Bad Guy", Hit Songs Deconstructed. Accessed 12 Nov 2026.
  5. Mixing Multi-Platinum Hits - Rob Kinelski, Dangerous Music. Accessed 12 Nov 2026.
Verified

Stated by the engineer, producer or artist, or by the manufacturer.

Reported

Stated by a reputable secondary source.

Inferred

An educated suggestion, not a documented fact.

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